略去作者，原文如下——
自莫言獲諾貝爾文學(xué)獎(jiǎng)以來，媒體上相關(guān)的爭論至今不絕。我也曾被電臺(tái)的節(jié)目主持人邀請(qǐng)過發(fā)表評(píng)論。但我沒有接受，因?yàn)槲也⒉皇煜つ缘淖髌?，也沒有興趣為促熱鬧而去補(bǔ)讀那些與我當(dāng)前的寫作方向無關(guān)的文字，更不要說我向來就無意介入華人諾獲貝爾獎(jiǎng)的是非爭端，我覺得自己沒有資格隨便去評(píng)説莫言是否值得拿到如此崇高的獎(jiǎng)項(xiàng)。
我要說的是我讀了英譯頒獎(jiǎng)辭的感覺。我發(fā)現(xiàn)諾貝爾獎(jiǎng)的文學(xué)委員會(huì)并非如某些人指斥的那么昏憒，即使他們有撫慰中共當(dāng)局及其擁戴者的意向，那一種示好的做法也不是毫無原則的。從頒獎(jiǎng)辭可以看出，他們?nèi)匀灰晕鞣降膬r(jià)值尺度來衡量莫言的作品，從中讀出了大量讓只愛受獎(jiǎng)，不愛受批的當(dāng)局一時(shí)間甚感尷尬的信息。這一切都巧妙而確切地寫在頒獎(jiǎng)辭中，并被標(biāo)明為莫言作品獲獎(jiǎng)的原因。由此看來，瑞典文學(xué)院送給中共當(dāng)局的這個(gè)大獎(jiǎng)確帶有不少芒刺，它可謂一顆裹著糖衣的苦葯，一個(gè)當(dāng)局的屁股下非坐進(jìn)去不可的蘿卜。
但無恥的是，我發(fā)現(xiàn)大陸版的中譯文竟然整段刪節(jié)，到處亂改，妄圖以掩耳盜鈴的方式摘取這個(gè)對(duì)他們來説已變了味的桃子。反觀BBC中文網(wǎng)的中譯，雖然完整，卻也有不少可議之處，不足以尖銳地對(duì)比出大陸版的殘缺和欺瞞。故筆者不揣鄙陋，現(xiàn)將全文仔細(xì)譯出，英漢對(duì)照在下面。主要的用意是為廣大的讀者提供一個(gè)可資對(duì)比的文本，對(duì)比出大陸版本如此歪曲和掩蓋的卑鄙用心。讀者只要認(rèn)真讀了這篇頒獎(jiǎng)辭，仔細(xì)品味，就不難想象中共當(dāng)局那種洋米湯喝下去，卻嚥了個(gè)蒼蠅的反胃感了。筆者并非翻譯行家，也沒必要在這方面逞能，之所以破費(fèi)功夫，在這裡“貧道獻(xiàn)丑”，為的只是保全真相，打假揭偽。不妥之處，敬請(qǐng)各位方家指正。
2012年12月14日
頒獎(jiǎng)辭
諾貝爾獎(jiǎng)?lì)C獎(jiǎng)典禮上，文學(xué)委員會(huì)主席帕?瓦斯特伯格介紹了莫言的作品，闡述了授予他諾貝爾文學(xué)獎(jiǎng)的原因。瓦斯特伯格的頒獎(jiǎng)辭全文如下：
（中英對(duì)照譯文）
Mo Yan is a poet who tears down stereotypical propaganda posters, elevating the individual from an anonymous human mass. Using ridicule and sarcasm Mo Yan attacks history and its falsifications as well as deprivation and political hypocrisy. Playfully and with ill-disguised delight, he reveals the murkiest aspects of human existence, almost inadvertently finding images of strong symbolic weight.
莫言是一個(gè)撕下程式化宣傳海報(bào)，將凡夫俗子一個(gè)個(gè)推上臺(tái)面的詩人。他以冷嘲熱諷的筆致抨擊歷史及其作偽，以及剝奪的行為和政治偽裝。他戲謔地揭示了人生境遇中最陰暗的方面，漫不經(jīng)心地摸索出極富象徵力的形象。
North-eastern Gaomi county embodies China’s folk tales and history. Few real journeys can surpass these to a realm where the clamour of donkeys and pigs drowns out the voices of the people’s commissars and where both love and evil assume supernatural proportions.
高密縣東北鄉(xiāng)體現(xiàn)了中國的民間故事和歷史，不通過此類故事，你幾乎很難腳踏實(shí)地地進(jìn)入一個(gè)驢吼豬叫淹沒了黨政領(lǐng)聲音的國度，在那里，愛和惡的呈現(xiàn)已達(dá)到超自然的程度。
Mo Yan’s imagination soars across the entire human existence. He is a wonderful portrayer of nature; he knows virtually all there is to know about hunger, and the brutality of China’s 20th century has probably never been described so nakedly, with heroes, lovers, torturers, bandits – and especially, strong, indomitable mothers. He shows us a world without truth, common sense or compassion, a world where people are reckless, helpless and absurd.
莫言的想象飛掠整個(gè)的人生境遇。他是描繪自然的能手；有關(guān)飢餓的方方面面，他幾乎全都熟知。中國在20世紀(jì)中的暴虐無道，也許還從未如此直白地被他描寫在他那些英雄、戀人、施虐者、強(qiáng)盜，特別是堅(jiān)強(qiáng)無畏的母親的故事之中。他向我們呈現(xiàn)了一個(gè)沒有真理，缺乏常識(shí)或同情心的世界，其中的人群都顯得魯莽、無助而荒誕。
Proof of this misery is the cannibalism that recurs in China’s history. In Mo Yan, it stands for unrestrained consumption, excess, rubbish, carnal pleasures and the indescribable desires that only he can attempt to elucidate beyond all tabooed limitations.
中國歷代反復(fù)出現(xiàn)的人相食現(xiàn)象就是這一悲慘世界的證據(jù)。在莫言的筆下，它還呈現(xiàn)為毫無節(jié)制的消費(fèi)，大肆鋪張，胡説八道，食色之樂，以及種種難以言説的欲望，唯獨(dú)莫言能夠沖破所有的禁忌限制，試圖將那一切闡述出來。
In his novel Republic of Wine, the most exquisite of delicacies is a roasted three-year-old. Boys have become exclusive foodstuff. The girls, neglected, survive. The irony is directed at China’s family policy, because of which female foetuses are aborted on an astronomic scale: girls aren’t even good enough to eat. Mo Yan has written an entire novel, Frog, about this.
在他的小説《酒國》中，最精致的美味是三歲孩童肉燒烤。男童肉成為高級(jí)食品，而女童，則因被鄙棄不顧而得以幸存。這一反諷直刺了中國的獨(dú)生子女政策，正是這一政策導(dǎo)致女胎被大量墮掉，墮掉的女胎多不勝數(shù)，以致多到了不配食用的地步。《蛙》這部小説從頭到尾所寫的就是這樣的事情。
Mo Yan’s stories have mythical and allegorical pretensions and turn all values on their heads. We never meet that ideal citizen who was a standard feature in Mao’s China. Mo Yan’s characters bubble with vitality and take even the most amoral steps and measures to fulfill their lives and burst the cages they have been confined in by fate and politics.
莫言的故事富有神話和諷喻的旨趣，所有的價(jià)值在這些故事中都全然改觀。在莫言的筆下，毛時(shí)代的中國眾生相絕非那種常見的模式化理想人物，他們?nèi)硷@得生氣勃勃，為充分發(fā)揮他們的生命力和打破那囚禁他們的命運(yùn)和政治牢籠，他們的行事甚至採取了非道德的步驟和方式。
Instead of communism’s poster-happy history, Mo Yan describes a past that, with his exaggerations, parodies and derivations from myths and folk tales, is a convincing and scathing revision of fifty years of propaganda.
莫言所描寫的過去年代與中共所發(fā)行的那些宣傳畫中的歷史有所不同，他使用夸張和戲仿的筆法，以及取材神話和 民間故事的內(nèi)容，對(duì)以往那五十年的宣傳作出了可信而嚴(yán)苛的修正。
In his most remarkable novel, Big Breasts and Wide Hips, where a female perspective dominates, Mo Yan describes the Great Leap Forward and the Great Famine of 1960 in stinging detail. He mocks the revolutionary pseudo-science that tried to inseminate sheep with rabbit sperm, all the while dismissing doubters as right-wing elements. The novel ends with the new capitalism of the ‘90s with fraudsters becoming rich on beauty products and trying to produce a Phoenix through cross-fertilisation.
《豐乳肥臀》是最引人注目的一部小説，書中整個(gè)地貫串了女性視角，對(duì)大躍進(jìn)和1960年的大飢荒作出了令人錐心的細(xì)節(jié)描述。他揶揄妄圖拿公兔給母羊配種的革命派偽科學(xué)試驗(yàn)，而在當(dāng)時(shí)，凡對(duì)此類事情表示懷疑的人都會(huì)被打成右派。小説以新資本主義勃興的90年代作結(jié)，那時(shí)候某些靠出售美容品發(fā)了大財(cái)?shù)尿_子們?nèi)酝龍D通過雜交的方法養(yǎng)出鳳凰。
In Mo Yan, a forgotten peasant world arises, alive and well, before our eyes, sensually scented even in its most pungent vapours, startlingly merciless but tinged by joyful selflessness. Never a dull moment. The author knows everything and can describe everything – all kinds of handicraft, smithery, construction, ditch-digging, animal husbandry, the tricks of guerrilla bands. He seems to carry all human life on the tip of his pen.
莫言大筆淋漓，勾繪出一個(gè)被遺忘的農(nóng)民世界，其中的一切都被寫得活靈活現(xiàn)，即便它的氛圍烏煙瘴氣，也彌漫有肉慾的氣息，其中雖充斥驚人的殘忍，卻仍浸潤著歡快的無私；讀起來從不讓人感到枯燥乏味。各種手工藝，鐵匠活，蓋房，挖渠，養(yǎng)殖，土匪伎倆——所有這一切他無所不知，無所不寫，人世間的一切幾乎都被他羅列到筆下。
He is more hilarious and more appalling than most in the wake of Rabelais and Swift — in our time, in the wake of García Marquez. His spice blend is a peppery one. On his broad tapestry of China’s last hundred years, there are neither dancing unicorns nor skipping maidens. But he paints life in a pigsty in such a way that we feel we have been there far too long. Ideologies and reform movements may come and go but human egoism and greed remain. So Mo Yan defends small individuals against all injustices – from Japanese occupation to Maoist terror and today’s production frenzy.
繼拉伯雷和斯威夫特以及當(dāng)今的加西亞?馬爾克斯之后，還很少有人能像莫言這樣寫得妙趣橫生，驚世駭俗。他那辛辣的文筆是麻辣味的。他勾繪了近百年中國的歷史長卷，其中既無麒麟呈祥的景象，也無少女歡躍的幸福。但那里面的豬圈生活卻讓他描繪到令人難以忍受，卻又欲罷不休的地步。意識(shí)形態(tài)和改革運(yùn)動(dòng)儘管搞來搞去，人們的唯我意識(shí)和貪心始終都革除不掉。所以莫言要為保護(hù)藐小的個(gè)人而抗拒一切不公正的行為——從日本侵華直到毛時(shí)代的暴政和今日大搞生產(chǎn)的狂熱。
For those who venture to Mo Yan’s home district, where bountiful virtue battles the vilest cruelty, a staggering literary adventure awaits. Has ever such an epic spring flood engulfed China and the rest of the world? In Mo Yan’s work, world literature speaks with a voice that drowns out most contemporaries.
在莫言的家鄉(xiāng)，富饒的德行一直都在與最邪惡的殘忍交戰(zhàn)，對(duì)那些有勇氣闖進(jìn)去一窺其究竟的人士來説，所面臨的將是一次步履艱難的文學(xué)冒險(xiǎn)之行。中國，乃至世界的其他地方，何曾經(jīng)受過這樣一種史詩春潮的波瀾沖擊？在莫言的作品中，“世界文學(xué)”發(fā)出了讓眾多的當(dāng)代人傾倒折服的聲音。
The Swedish Academy congratulates you. I call on you to accept the 2012 Nobel Prize for Literature from the hand of His Majesty the King.
瑞典文學(xué)院祝賀你。懇請(qǐng)你從國王手中接過2012年諾貝爾文學(xué)獎(jiǎng)。
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